Debacle Records is proud to announce Music For The Celestial Din, the latest offering from Garek Jon Druss. Best known for creating darker, dirge-style sounds as a member of Atriarch, Tecumseh, and most notably his project A Story of Rats, this new solo piece finds a different direction for the Seattle artist, with an intention to uplift and shift the mind into an expansive state. The LP will be available on September 30, as well as in digital formats on October 7th.

Side A is comprised of the track “The Celestial Din,” the studio recording of the audio component to a gallery installation held in the fall of 2013. Utilizing the frequencies 396HZ, 417HZ, and 528HZ based on their reputed human response, Druss has created “a sublimely keening drone that possesses an unsettling urgency, as if it's warning you of some momentous action on the horizon that demands your immediate and undivided attention” elucidates the Stranger’s Dave Segal. His non-traditional approach to score composition through the use of watercolor visual scores is displayed on the back cover of the LP.

Side A is comprised of the track “The Celestial Din,” the studio recording of the audio component to a gallery installation held in the fall of 2013. Utilizing the frequencies 396HZ, 417HZ, and 528HZ based on their reputed human response, Druss has created “a sublimely keening drone that possesses an unsettling urgency, as if it's warning you of some momentous action on the horizon that demands your immediate and undivided attention” elucidates the Stranger’s Dave Segal. His non-traditional approach to score composition through the use of watercolor visual scores is displayed on the back cover of the LP.

Side B features two remixes of the work. First, Pete Swanson turns in a paint-peeling variation that sits somewhere between his noise/drone work with Yellow Swans and the industrial pulses of his recent solo releases. A second remix, created by L.A.’s Ben Chisholm (co-producer to Chelsea Wolfe), has a sweeping soundtrack quality replacing the healing placidness of the original piece with a sense of existential yearning.

Druss, who is also a member of the performance ensemble Saint Genet, will be attending a residency in Vienna this Fall. He will be developing an ongoing series of listening programs that involve live performance, lecture, and meditative listening techniques. Previously he has performed at the Museum of Contemporary Canadian Art in Toronto, The Henry Art Museum and On The Boards in Seattle, The Donau Festival in Krems Austria, and across the United States and Europe.